行书历代小品文选

【中堂】、【横卷】陶渊明《游斜川序》· ···················01陶弘景《答谢中书书》· ··················02吴均《与朱元思书》· ···················03郦道元《江水《三峡》· ··················04袁中道《寄四五弟》· ···················05徐渭《跋陈白阳卷》· ···················06徐渭《答张太史》· ····················07徐渭《与柳生》· ·····················08徐渭《书朱太仆十七帖》· ·················09洪迈《容斋随笔》· ····················10庞元英《谈薮》· ·····················11计有功《唐诗纪事》· ···················12王谠《唐语林》· ·····················13李绰《尚书故实》· ····················14欧阳修《归田录》· ····················15罗大经《鹤林玉露· ····················16陈继儒《小窗幽记》· ···················17郑燮《竹》· ·······················18廖燕《山居杂谈》· ····················19李渔《桂》· ·······················20吴从宪《赏心乐事》· ···················21祁彪佳《水明廊》· ····················22冯梦龙《半日闲》· ····················23钟惺《与陈眉公》· ····················24袁宏道《雨后游六桥记》· ·················25李日华《论书法与人品》· ·················26陈继儒《跋姚平仲小传》· ·················27张大复《此座》· ·····················28杨万里《跋李成山水》· ··················29杨万里《题曾无逸百帆图》· ················30黄庭坚《书林和靖诗》· ··················31黄庭坚《书家弟幼安作草后》· ···············32苏轼《书舟中作字》· ···················33苏轼《记承天寺夜游》· ··················34沈周《记雪月之观》· ···················35苏轼《与范子丰书》· ···················39周敦颐《爱莲说》· ····················40刘禹锡《陋室铭》· ····················41陆游《跋渊明集》· ····················42陆游《跋岑嘉州集》· ···················43袁宏道《孤山》· ·····················44苏轼《试笔自书》· ····················45高启《跋眉庵记后》· ···················46袁中道《游居柿录》· ···················47文震亨《香茗》· ·····················48元结《右溪记》· ·····················49黄庭坚《题东坡字后》· ··················50王维《山中与裴秀才迪书》· ················52张岱《湖心亭看雪》· ···················54柳宗元《小石潭记》· ···················56【扇面】陆树声《题东坡笠屐图》· ·················58王季重《简赵履吾》· ···················59陈继儒《小窗幽记》· ···················60

临摹是书法学习中的重要手段，也是不可逾越的途径。从古至今，所以的书法大师都是以临摹的方式，站在前人的肩膀上而最终获得成就的。当然，临摹的最终目的还是创作。那么，我们如何创作？如何从临摹过渡到创作？基于此，我们特别策划了《经典碑帖集字创作蓝本》这套书，聘请国内一流学者和著名书家共同编撰，在文字内容上力求经典，在书法风格上力求和谐，同时兼顾形式的丰富多样。——胡紫桂《经典碑帖集字创作蓝本》以古代经典文选作品为内容，通过现代计算机技术，将历代经典碑帖行草范字集合在书法作品中，力求风格统一，行气流畅，章法形式多样，既可直接供书法爱好者临摹，又可为其书法创作提供借鉴，集书法与文学价值于一身。本册为草书历代书论选。